书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

收传印记：白云堂藏
收传印记：泾县朱王斿珍藏

题跋资料:

题跋类别：题跋；作者：宋徽宗；题跋位置：本幅；款识：无；书体：楷书；全文：勾龙爽妙笔。印记：宣龢（连珠印）、御书

主题:

主要主题：佛道人物僧（和尚、尼姑）和尚；其他主题：器用宗教器用权杖

技法:

白描 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 黄君璧先生捐赠文物特展目录，页7-8、43-44 参考书目： 1.李玉珉，〈宋勾龙爽佛像〉，收入李玉珉主编，《罗汉画》（台北：国立故宫博物院，1990年初版），页74。 内容简介（中文）： 勾龙爽，神宗时（西元一０六七至一０八五年）为图画院祇候，蜀（四川）人。好丹青，善作古人物，其状质野。观之如鼎彝间见三代以前篆书，便觉近习为凡陋。工画佛道人物，善为古体衣冠，精裁致密，为一代奇笔。画中二僧，前捧经卷，后持钖杖。按佛教来自印度，故僧像带有异国人物造形，所谓胡貌梵相，具罗汉特色。画家更常赋与不食人间烟火情态，因此，清、奇、古、怪每多出于画面，本幅亦作如此手法。此画为黄君璧先生捐赠。 内容简介（英文）： Kou Lung-shuang was a native of Shu (Szechwan) and achieved the rank of chih-hou (Usher) in the Painting Academy during the reign of the Emperor Shen-tsung (r. 1067-1085). He excelled at depicting figures that appear archaic and uncultivated. Gazing at them is like looking at the archaic beauty of seal-style script on ancient bronzes, making one feel that contemporary styles are inferior. Kou Lung-shuang excelled at painting Buddhist and Taoist figures; particularly archaic-1ooking bodies, clothes, and crowns, which all appear as if incised and tightly knit. In this painting are two monks; the one in front holds a sutra and the other carries a tin staff. Buddhism came to China from India, so it is not surprising to see these monks as non-native Chinese. The so-called " Cental Asian and Indian appearances" are special features of lohans. Painters often bestowed upon them an air of reclusion. As a result, the purity, eccentricism, archaism, and peculiarity of lohans were repatedly depicted in paintings such as this. This painting was donated to the Museum by Mr. Huang Chun-pi.